Thomas Plenert

Dammbeck, himself an alumnus of the Leipzig Academy for Graphic and Book Design, presents the origins of the new German realism developed by the so-called Leipzig School, which took place in the context of socialist-realist dogma in the GDR before the Wall was built in 1961. After the Wall came down in 1989, what happened to the major Leipzig School painters Werner Tübke and Bernhard Heisig, who had been called “Dürer’s red heirs” by West German journalists in the 1970s? In the film, Tübke, Heisig, and former GDR officials who were involved with the cultural scene in Leipzig at the time talk about modernism, conformism, political pressure, party discipline, personal claims, and fading memory. The documentary paints an insightful, often critical picture of early East German art history.

Young people living in a children’s home in Mecklenburg talk about their unstable home situations and domestic violence. Many of them have alcoholic parents and some are in danger of going down the same path. They speak openly about the past and their hopes for a better life. The documentary follows the young men and women within the group and in search of personal space. A party to start the summer holidays marks not only the end of the school year – it also means that an entire class will be taking leave of the home forever.

Beyond Boundaries is a lyrical, essay-like road movie tracing the scars of war in Europe and telling of places where a border is known as “Meja”, “Granica”, “Határ” or “Frontiera” – the borders of Slovenia to Austria, Croatia, Hungary, and Italy.

Filmmaker Sibylle Schoenemann, imprisoned by the GDR in 1984, was released to the FRG after having West Germany literally buy her freedom. In 1990 she went back and questioned those responsible.

In the little town of Herzsprung - whose name harks back to an ancient legend of broken hearts - almost nothing has changed since German unification, except a rise in unemployment. Johanna, a young mother and widow, becomes one of the unemployed and lives on welfare. To make matters worse, she falls in love with a dark-skinned, roving adventurer and the whole village starts talking about it.

At the Vienna Art Academy in 1994, an unidentified person painted over 27 works by Austrian painter Arnulf Rainer. Rainer had become world-famous for his abstract art and, in particular, for his over-layering of photographs and overpainting of his own and other artists’ works. But who painted over the “overpainter”? Speculation rages: Did he attack his works himself? A year later, an unsigned letter surfaces claiming responsibility for the act directed against Rainer – and modern art in general – and accusing the artist of being complicit with “destructive modernism.” At the same time, Austria is shaken by a series of mail bombs by the Bajuwarian Liberation Army, in response to the supposed threat to Austria’s “German identity.” Are there connections between the overpainting event and the mail bombs? Or is this all just a game? A dream? Or perhaps a hallucination?

Sven Marquardt might be the most famous bouncer worldwide. But beside standing in front of the legendary techno club Berghain in Berlin, he is also a well-known and skilled photographer. Long before the Berlin Wall came down, Marquardt portrayed the subcultural East-Berlin scene. His black and white photography illustrates it as voluptuous, laid-back, dirty and existential. Even if shot by daylight, his work is permeated by darkness, ecstasy and night.

The film draws attention to the spread of sexually transmitted diseases, especially among adolescents and young adults, and identifies partner changes and alcohol as factors that promote the spread. As basic preventive information about the sexually transmitted diseases gonorrhea and syphilis, the film explains symptoms in men and women and possible consequences such as permanent infertility or agonizing infirmity.